Carmen

This spectacle, deliberately stripped of any sugariness, almost entirely white sand-colored with just a few specs of grey and black, has its own kind of poetry which now and then unobtrusively shows something in common with Italian neo-realism. Judging by details of everyday life and by character traits it all must have taken place in the mid-20th century somewhere on the French-Spanish border. Micaëla comes to José by bicycle from her village; the fighting girls from the tobacco factory get separated with a water jet from a hose; the torero (wearing a common contemporary suit) gets caringly protected from the rain by tough guys that are very familiar to the audiences.

Nora Potapova, Peterburgsky Teatralny Zhurnal (The St. Petersburg Theatre Magazine)